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Humbert Rivière's avatar

May I request further elucidation regarding the theological concept of divine play, as previously alluded to, and its principal manifestation in the pastimes of avataras? Precisely, could you expand upon the manner in which activities like Krishna engaging in dance with the gopis serve as exemplification of this notion? I find the example of Krishna to be an interesting one when it comes to this topic.

How should individuals who follow a particular belief system perceive and handle the existence of suffering both in their own lives and in the wider world, taking into account the consequences and implications of viewing the universe as a manifestation of a divine play?

Implicit in this is another question relating to how does divine play of a selfless Brahma translate to human actions that are often not selfless. My understanding is that the divine play of Brahman, while primarily ineffable, can be contemplated on an individual level, wherein our lives and experiences may be perceived as integral components of the Lord's divine drama, wherein the ebbs and flows serve as instruments for our growth and improvement. Similar to performers on a stage, we possess the ability to exercise our own volition in portraying our assigned characters.

Nevertheless, we are ultimately guided by the playwright, who orchestrates our actions for the purpose of entertaining and enlightening the audience. Through our connections and bonds with family, friends, and others, the diverse experiences of life unravel in a manner akin to the unfolding episodes of a theatrical production. Suffering that is borne with a deep comprehension of spirituality is presented to the Lord, thereby converting commonplace agony into a sacred act devoted to the divine performance. The act of carrying out one's responsibilities in the world without being attached to the final outcome mirrors the detached essence of Brahman's theatrical engagement.

Transcending negative qualities represented by malevolent entities in religious texts enable us to effectively fulfill our responsibilities. Recognizing that our fundamental, everlasting essence lies not in the physical body but in the untethered soul empowers us to engage with the profound spiritual awareness of experienced practitioners of yoga. In essence, the actions of human beings can serve as both a manifestation and a pathway to comprehend the divine performance, provided they are undertaken with a mindset of altruistic service, unbiased detachment from outcomes, and heightened spiritual consciousness.

As for karma, tell me if this is an accurate portrayal of karma. I think of it as a drama:

In the context of the divine play analogy, the concept of karma serves to convey the following meaning: The script or narrative that defines the role and encounters of each actor. Just as a playwright tailors each character's role based on their characteristics and narrative, karma molds one's situations in accordance with previous deeds. The collective outcome of favorable and unfavorable deeds carried out in previous lifetimes plays a significant role in determining the current prospects and adversities. Although individuals possess the liberty to make spontaneous alterations, karma ultimately establishes the fundamental narrative, thus guiding the course of happenings.

The agony endured by the characters fulfills the consequences set forth by their previous roles in the unfolding drama of existence. As the progression of the play unfolds, the cycle of karma unveils itself in each successive scene, guiding the journey towards a final and ultimate resolution. The concept of not being emotionally invested in the results enables actors to fully embody their roles and perform to the utmost of their capabilities. Thus, karma can be seen as the predetermined narrative that presents individuals with obstacles and teachings based on their past actions within the divine theatrical performance.

Removing the aspect of karma from this metaphor of celestial performance would result in the deterioration of its framework and objective in the subsequent manners:

If there is no predetermined script or narrative dictated by the concept of karma, the play would lack a cohesive plot and the growth of characters. The actors would lack clearly defined roles and motivations stemming from their previous actions, leading to the portrayal of erratic or seemingly arbitrary behaviors.

Events would transpire haphazardly, bereft of any discernible link between their causes and subsequent effects. To this end, the implications of these events would fail to impart any valuable insights or knowledge. The afflictions endured by characters would be stripped of their intended purpose, as their current manifestation serves as a form of repayment for past deeds or the culmination of earlier actions.

The overall dramatic work would lack a sense of conclusion, as karma guides individual paths towards either liberation or deeper entrenchment. It may appear as though the playwright (Brahman) lacked authority and lacked an overarching intention or plan.

Removing the concept of karma would essentially erode the rationality, flow, and intention of the play as a cohesive and significant storyline. Consequently, it would transform into an incoherent compilation of arbitrary scenes and incidents, rather than a unified and unfolding tale established for each individual character.

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Danway's avatar

The pathology of suffering is imbalance which is rooted in deficiency. This is what Siddhartha was implying when he said that the cause of suffering is ignorance. If you don’t understand that a zinc deficiency can lead to psychosis and derangement then you’re susceptible to magical thinking. Even more so you would need to understand the dietary sources for zinc as well as healthy levels to maintain AND contributing factors such as Middle East style black tea prepared by lengthy boiling which releases compounds that leach zinc from your body. The key to the cure for suffering is the Middle Way which is all about maintaining a dynamic equilibrium and homeostasis.

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